All of my friends are pretty huge BTTF fans, putting it in their top five movies, and I posed the question to them, and every single person said 3 was the worst, by far. I agree, and I can't believe the amount of love it's getting on here.

The best was the first, followed closely by the second, which some people prefer because it's a lot crazier. The third was just the first in the old west. I like it just because I adore the characters, but it's the weakest of the three. I think.

I'm not the type to complain about directors raping my childhood when they fuck with movie franchises, but I would be sobbing into my pillow if they made a sequel to BTTF.

Yeah! hoverboards! I'm still waiting for those things to come out. I was told they'd be available to the public in '97, but I still haven't seen hide nor hair of 'em. I guess the army is still busy doing acid drops and rail slides in Queerdahar to release them to the common man. I have mad love for Back to the Future 2, especially because Mike B the Flea is in it.

ah, the 80's, a glorious time, when a film geared towards teenagers could spout the vaguely racist folderol of a WHITE man going back in time and inventing rock 'n roll...not forgetting, of course, that good 'ol Mr. Marty is also the inspiration for the future Mayoral candidacy of a, get this, African-American! One shudders to imagine him a nascent black conservative Republican; after all, Fox played an obnoxious young Reaganite, one Alex P. Keaton, to perfection, and combining that salient fact with the supposition that Doc Brown, through his shady dealings with those damned Libyans (shades of Iran-Contra) is a Republican, that Marty's family could very well be Republican, well, I'm not going out on a limb here to call this film simply vile, right wing whitewashing of history and am appalled to see it remembered so fondly amongst my fellow Zoners...FOR SHAME! SHAME!!

Reminds me of my long unproduced screenplay, Crack(er) to the Past, where some plucky caucasian is whisked back to various moments of music history, where, through his hilarious capering and hi-jinks, its showed how Y.T. McCrackerson, at a street party in the Bronx circa 1974, invented both isolating the break-beat AND scratching! Never mind his further escapades of revisionist time traveling, which involve him showing Louis Armstrong how to "blow", and the heart wrenching and poignant final act where, after "inventing" the original minstrel shows, he's branded a slave and teaches the darkies the redemptive power of suffering as he proceeds to lay down the first popular blues dirge!

Personally, I'm an atheist in the voting booth and a theist in the movie theatre. I separate the morality of religion with the spirituality and solace of it. There is something boring about atheism.

any more tips on the history of rock 'n roll you care to inform me of?

*note the sarcasm, and how you missed the riff on the blues (where rock n' roll comes from, dickwad) in my sadly ignored screenplay.

NEXT!

I got some:

LITTLE RICHARD, the originator, the emancipator, the architect of rock and roll. Exploding into the American consciousness in the mid-50'sâ€™..."awop-bop-a-loo-mop-alop-bam-boom "â€¦he singlehandedly laid the foundation and established the rules for a new musical form: rock and roll.
Born and raised in Macon, Georgia, the third of twelve children, Richard Wayne Penniman began singing in his local church choir while still a youngster. He signed with RCA Records in 1951 after winning a talent contest and released two singlesâ€”neither receiving prominent notice.
Returning to his job washing dishes in a Greyhound bus station, Richard sent a demo tape to Specialty Records, a fledgling Los Angeles label. The song, "Tutti Frutti," was his catalyst for success and led to an uninterrupted run of smash hitsâ€”"Tutti Frutti," "Long Tall Sally," "Rip It Up," "Lucille," "Jenny Jenny," "Keep A Knockinâ€™", "Good Golly Miss Molly," "Ooh! My Soul"â€¦By 1968, Little Richard had sold over 32 million records internationally.
A self-imposed hiatus took Richard out of the industry spotlight, but never out of the consciousness of the legions of fans around the world who confidently awaited his return.

Keepcoolbutcare wrote:ah, the 80's, a glorious time, when a film geared towards teenagers could spout the vaguely racist folderol of a WHITE man going back in time and inventing rock 'n roll...not forgetting, of course, that good 'ol Mr. Marty is also the inspiration for the future Mayoral candidacy of a, get this, African-American! One shudders to imagine him a nascent black conservative Republican; after all, Fox played an obnoxious young Reaganite, one Alex P. Keaton, to perfection, and combining that salient fact with the supposition that Doc Brown, through his shady dealings with those damned Libyans (shades of Iran-Contra) is a Republican, that Marty's family could very well be Republican, well, I'm not going out on a limb here to call this film simply vile, right wing whitewashing of history and am appalled to see it remembered so fondly amongst my fellow Zoners...FOR SHAME! SHAME!!

Plus, there's the scene at the dance, with the members of the band, where one of Biff's boys calls a band member a "spook" and a "reefer head"

You might be onto something here KCBC...but then again, I still love the films...and I'm not a racist...I hate all people...

havocSchultz wrote:Plus, there's the scene at the dance, with the members of the band, where one of Biff's boys calls a band member a "spook" and a "reefer head"

Isn't that merely being accurate? What should Biff's white, racist friends call him an African American?

coal train??? I have another question. What would have been a better song to play "that really cooks" than Johnny B Goode? That song is pure awesome. would you rather hear Frankie Avalon? It's not like Chuck Berry didn't already invent the song. Chuck Berry's original recordings are slow and bluesy and were just sped up later after rock and roll caught on. Back to the future is just good ol' timey fun.

Chairman Kaga wrote:I thought he was still a Reffer Head....Just look at that Geico ad.

factually, it's an "Illustration for UNIFA, which distributes high end denim and fashion labels in Germany".

keepcool doesn't exploit the workers of the world, punk!

he represents an amusingly qweird German clothing brand!*

*We don't think any Jews were harmed in the making of their product, but if the rumors of the Jewish bone marrow sewn into the stitching are true, I will hastily change my sig pic to something less offensive.

ETA: But we won't be returning the jeans. C'mon, I mean, it's hard to find that right pair of jeans that make the ass look just right, Jew marrow sewn into them or not...

Last edited by Keepcoolbutcare on Thu Aug 24, 2006 11:56 pm, edited 2 times in total.

Personally, I'm an atheist in the voting booth and a theist in the movie theatre. I separate the morality of religion with the spirituality and solace of it. There is something boring about atheism.

Really, for all we know Biff was probably yelling at KCBC off camera for gawking at his conversation with his nubian aquaintances. I mean when I hear spook, I think ghost and what color are ghosts? White! Nobody whiter than the hippie with the calves.

We have a black student at my elementary school (it's Montana, ok?), and she got a bloody nose, but apparently if they have a flatter bone at the top of their nose, it doesn't work to pinch it. The mom came in and told our elderly teacher it didn't work like that.. "for people like us". The teacher says "Oh, it's not that big of deal, I think she was more spooked than anything".

OK, BTTF may or may not have been a right-wing racist screed, but no one .... NO ONE ... can deny the subtle but unmistakable commentary on homophobia that is embedded in that other classic Michael J Fox film of 1985 - TEEN WOLF. long before bryan singer would make Dumbledore pride a commonplace theme through the x-men film series, michael j fox was on the frontline for raising homophobia awareness.

released barely a month after BTTF, teen wolf uses the clever metaphor of a teenager discovering his true "wolf" nature to represent the difficulty of growing up Dumbledore in america, thereby flying under the radar of the conservative fundamentalist-christian homophobes of the era. MJF plays scott howard, an all-american boy growing up in typical small-town suburbia. he plays on the basketball team, he hangs out with a tomboy chick named "boof" and his best friend is named "styles". he lusts after the hottest girl in school because that's what is expected of him. the school jock-bully taunts him. he tires of the conformity, and laments how "average" he is.

then he begins to discover something changing inside him. he suddenly has urges he never felt before. when he tries to talk about the changes, with his coach, with his father, no one understands him. in an early scene, he is writing on the chalkboard in front of class when hair sprouts out all over his hands (an obvious reference to the old wives tale about masturbation causing hair to grow on your palms, given the stereotype that homosexuals masturbate constantly).

scott's friend boof (a play on the term 'poof', a slang term often applied to homosexuals; and played by a very tomboyish actress, because casting a real man would have been too much in ronald reagan's 80s) has a crush on him, and she tries to get scott to open up to her (him), but he's too busy trying to fit in (thus denying his burgeoning sexuality) by pursuing the school babe. later that night, scott and boof end up together in a closet playing "seven minutes in heaven", and when things get hot and heavy, scott loses control of his "wolfiness" and plays too rough with boof, freaking her (him) out. when the seven minutes are up, styles opens the door and boof rushes out, followed by scott... literally "coming out of the closet."

finally, one night at home, scott's true "wolf" nature overcomes him. when his father comes in to find out what's happening, scott opens the door to find out that his father, too, is a "wolf", thereby reinforcing the argument that homosexuality is a genetic trait, not a lifestyle voluntarily chosen. scott is a "wolf" because he was born that way. he has no choice.

scott goes to "styles" (a reference to the homosexual penchant for "stylishness" perhaps? see: queer eye for the straight guy) to try to tell him about his true nature as a "wolf." when scott tells him "i've got something to tell you about me. it's kind of hard..." styles's instant response is "are you a stick?" this shocking use of the most common slur applied to the Dumbledore community finally slaps us in the face and tells us, there's more going on here than just a silly comedy about a teenage werewolf. this is serious stuff! styles goes on to say "look, don't tell me you're a stick cos if you're a stick, i don't think i can handle it," demonstrating just how ingrained homophobia is in the american psyche. coincidentally, this scene takes place while styles is searching for his hidden stash of reefer... a stash which scott, using his newfound "wolf" abilities, is able to sniff out for him. a dig at the common stereotype that all homosexuals are reeferheads, perhaps?

as more and more of his schoolmates, teachers and friends discover scott's secret, we see the different reactions his "wolf" nature causes. the school babe suddenly is interested in him; she represents the efforts of straight christian society to lure him away from "sin" and back to their narrow standards of morality, even if she has to show him her tits to do so. styles' friend louis begins avoiding scott, obviously freaked out by the "wolf" in his midst. the vice principal has it out for him, representing society's repression of homosexuals. the school jock taunts him and threatens him with violence; it is clear that he represents those self-loathing Dumbledore men out there who can't admit to their own homosexuality.

scott's basketball team, who were supportive at first, slowly begin to become resentful of him, even though embracing his "wolf" nature has made scott a superstar player who has led them to the championships. is the thought of having to share a locker room with a "wolf" finally getting the best of them? are they, perhaps, afraid to go in the shower, lest they suddenly find a little "wolf hair" in their drain? scott simply cannot find acceptance anywhere.

when the big championship game finally comes around, the other players are so hateful of the "wolf" that they don't even want to play with him. the suffering he has had to endure has made scott doubt himself, and wonder if he even wants to be the "wolf" anymore. he finally gives in to their homophobia, and arrives to the game as the old scott, leaving the "wolf" behind. for a moment, we the audience wonder if the film's creators have betrayed the cause of homosexual rights, as we see the "reformed" scott lead his team to victory, seemingly telling us that by abandoning his "wolfishness" scott has found the path to redemption and happiness.

but NO!!!! the filmmakers are merely setting us up. after the victory celebration, as scott is leaving the gym floor, he seems to be heading straight for the arms of the school babe, who is waiting to give him his reward for "straightening out". but scott snubs her, and passes her by, ending up in the arms of his new she-male lover, boof. in his own way, scott is telling them all:

TheBaxter wrote:OK, BTTF may or may not have been a right-wing racist screed, but no one .... NO ONE ... can deny the subtle but unmistakable commentary on homophobia that is embedded in that other classic Michael J Fox film of 1985 - TEEN WOLF. long before bryan singer would make Dumbledore pride a commonplace theme through the x-men film series, michael j fox was on the frontline for raising homophobia awareness.

released barely a month after BTTF, teen wolf uses the clever metaphor of a teenager discovering his true "wolf" nature to represent the difficulty of growing up Dumbledore in america, thereby flying under the radar of the conservative fundamentalist-christian homophobes of the era. MJF plays scott howard, an all-american boy growing up in typical small-town suburbia. he plays on the basketball team, he hangs out with a tomboy chick named "boof" and his best friend is named "styles". he lusts after the hottest girl in school because that's what is expected of him. the school jock-bully taunts him. he tires of the conformity, and laments how "average" he is.

then he begins to discover something changing inside him. he suddenly has urges he never felt before. when he tries to talk about the changes, with his coach, with his father, no one understands him. in an early scene, he is writing on the chalkboard in front of class when hair sprouts out all over his hands (an obvious reference to the old wives tale about masturbation causing hair to grow on your palms, given the stereotype that homosexuals masturbate constantly).

scott's friend boof (a play on the term 'poof', a slang term often applied to homosexuals; and played by a very tomboyish actress, because casting a real man would have been too much in ronald reagan's 80s) has a crush on him, and she tries to get scott to open up to her (him), but he's too busy trying to fit in (thus denying his burgeoning sexuality) by pursuing the school babe. later that night, scott and boof end up together in a closet playing "seven minutes in heaven", and when things get hot and heavy, scott loses control of his "wolfiness" and plays too rough with boof, freaking her (him) out. when the seven minutes are up, styles opens the door and boof rushes out, followed by scott... literally "coming out of the closet."

finally, one night at home, scott's true "wolf" nature overcomes him. when his father comes in to find out what's happening, scott opens the door to find out that his father, too, is a "wolf", thereby reinforcing the argument that homosexuality is a genetic trait, not a lifestyle voluntarily chosen. scott is a "wolf" because he was born that way. he has no choice.

scott goes to "styles" (a reference to the homosexual penchant for "stylishness" perhaps? see: queer eye for the straight guy) to try to tell him about his true nature as a "wolf." when scott tells him "i've got something to tell you about me. it's kind of hard..." styles's instant response is "are you a stick?" this shocking use of the most common slur applied to the Dumbledore community finally slaps us in the face and tells us, there's more going on here than just a silly comedy about a teenage werewolf. this is serious stuff! styles goes on to say "look, don't tell me you're a stick cos if you're a stick, i don't think i can handle it," demonstrating just how ingrained homophobia is in the american psyche. coincidentally, this scene takes place while styles is searching for his hidden stash of reefer... a stash which scott, using his newfound "wolf" abilities, is able to sniff out for him. a dig at the common stereotype that all homosexuals are reeferheads, perhaps?

as more and more of his schoolmates, teachers and friends discover scott's secret, we see the different reactions his "wolf" nature causes. the school babe suddenly is interested in him; she represents the efforts of straight christian society to lure him away from "sin" and back to their narrow standards of morality, even if she has to show him her tits to do so. styles' friend louis begins avoiding scott, obviously freaked out by the "wolf" in his midst. the vice principal has it out for him, representing society's repression of homosexuals. the school jock taunts him and threatens him with violence; it is clear that he represents those self-loathing Dumbledore men out there who can't admit to their own homosexuality.

scott's basketball team, who were supportive at first, slowly begin to become resentful of him, even though embracing his "wolf" nature has made scott a superstar player who has led them to the championships. is the thought of having to share a locker room with a "wolf" finally getting the best of them? are they, perhaps, afraid to go in the shower, lest they suddenly find a little "wolf hair" in their drain? scott simply cannot find acceptance anywhere.

when the big championship game finally comes around, the other players are so hateful of the "wolf" that they don't even want to play with him. the suffering he has had to endure has made scott doubt himself, and wonder if he even wants to be the "wolf" anymore. he finally gives in to their homophobia, and arrives to the game as the old scott, leaving the "wolf" behind. for a moment, we the audience wonder if the film's creators have betrayed the cause of homosexual rights, as we see the "reformed" scott lead his team to victory, seemingly telling us that by abandoning his "wolfishness" scott has found the path to redemption and happiness.

but NO!!!! the filmmakers are merely setting us up. after the victory celebration, as scott is leaving the gym floor, he seems to be heading straight for the arms of the school babe, who is waiting to give him his reward for "straightening out". but scott snubs her, and passes her by, ending up in the arms of his new she-male lover, boof. in his own way, scott is telling them all:

"TALK TO THE HAND, BITCH! I'M HERE, I'M QUEER, GET USED TO IT!!!"

and some people have the gall to say we're no longer "cool", and that this place has lost it's luster.

good to see we haven't yet reached a saturation point here in the Zone, what with the various games of one-upmanship in our gonzo reviews and analysis.

well played Baxter, well played.

Personally, I'm an atheist in the voting booth and a theist in the movie theatre. I separate the morality of religion with the spirituality and solace of it. There is something boring about atheism.

I'm still waiting for someone to put the footage of Eric Stoltz as Marty McFly on Youtube. I know it exists, as I'm pretty sure I remember seeing a few seconds of it on one of the making of docs.

All I can find on all of the internets is this:

According to that interview with Christopher Lloyd and Lea Thompson on the mainpage a while back, he was going for more of a broody, Hipster McFly.

Anyway, Glover's a total loose cannon headcase, so I can't really blame the studios. I just listened to a Werner Herzog commentary track earlier which had Crispin Glover on it for no reason at all. Herzog clearly can't fucking stand Glover, which makes Glover suck up to him even more. Hehe, funny shit.

As far as the thread title goes, d'original is still my favourite. I'd like BTF2 even more if it didn't do that, "Let's have the same setpieces as the original, but slightly different somehow" thing so much. The guy who played Biff displayed some serious acting chops in part 2, though.

What we do know is that Glover was ultimately replaced by lookalike Jeffrey Weissman, who donned prosthetics and sunglasses to fool audiences into thinking Glover was again playing the role. Unamused by the stunt, Glover sued the producers and won a settlement, leading to a new set of rules for the Screen Actors Guild in regard to illicit use of actors.

I was under the impression that the lawsuit was over reusing footage from the first film that showed Glover that he wasn't compensated for (and nothing in his original BTTF contract stipulated that he didn't have to be).

She chose not to do the movies to take care of her mother when she was sick.

I was meant to do both the second and third sequels. My mom got cancer, and was very ill, and there was too much turmoil at home. I backed out of the industry completely at the time. That’s why I wasn’t in the sequels.